Letter
from New York
23
February 2004.
Copyright © 2004 by
Mindy Aloff
For
the past 25 years, Theodora Skipitares has been making award-winning spectacles
of puppetry, using techniques from around the world. The several productions
of hers that I’ve seen tend to be optically spellbinding and aurally
almost unendurable. Her scripts are disorganized and banal, the voices
of her actors aren’t very interesting, and the minimalist electronic
scores she uses, often for 70 minutes at a stretch, cancel out the delights
that come in through the eye. What she really needs, from my perspective,
is to present her puppetry in silence, with dialogue streaming electronically
somewhere visible.
read letter
read
past Letters
Clichés
of Madness
Nijinsky
The Hamburg Ballet
City Center
New York, NY
February 20–22,
2004
by
Gia Kourlas
copyright 2004 by Gia Kourlas
published 23 February 2004
After
spending Friday night with John Neumeier’s latest full-evening catastrophe
about Vaslaw Nijinsky (yes, another histrionic attempt to depict the famous
dancer), I can’t help but imagine what went into his “Nijinsky
File.” You know—points of inspiration for visual design and
character development; I’m not referring to historical photographs
or sketches of costumes or musical scores. This version of Nijinsky’s
life falls into the category of trying to make insanity hot (as opposed
to truly sad, which it was, or unintentionally funny, which is more often
the unfortunate case). Apart from actual research—and he does reportedly
have a vast collection of Nijinsky memorabilia—Neumeier seems to
have had two things on his mind before he stepped into the studio with
his dancers: homoerotic Calvin Klein advertisements (those featuring young
men in underwear) and Adam Cooper in Matthew Bourne’s Swan Lake
(that’s his Diaghilev).
read review
A
Valiant Beauty
The
Sleeping Beauty
New York City Ballet
New York State Theater
February 19,
2004
by
Mindy Aloff
copyright
2004 by Mindy Aloff
published 23 February 2004
The
photograph you see here is of Jenifer Ringe (with Philip Neal), the first-cast
Aurora in the New York City Ballet’s production of The Sleeping
Beauty. The last two weeks of NYCB’s winter season have been
given over to Beauty, and, in that time, the company is fielding five
sets of principals. Several critics from The Dance View Times
will be writing about the other casts next week. This review considers
the first cast I was able to see, with Yvonne Borree as Aurora, Nikolaj
Hübbe as Prince Désiré, Kyra Nicholas as The Fairy
Carabosse, and Maurice Kaplow conducting. Before I begin, I want to give
my frame of reference for critiquing this ballet.z
read review
New
Casts in Jewels
Jewels
New York City Ballet
New York State Theater
New York, NY
February 7 and February 12, 2004
by
Mary Cargill
copyright
2004 by Mary Cargill
published 23 February 2004
The
redesigned Jewels was the not-so-surprise hit of the season,
with packed houses and cheering audiences. The earlier designs, with the
chintzy parures in the background, were not a great loss, but they at
least did not detract from the choreography in the way the news ones,
to my mind, do.
“Emeralds”
is now a mass of green nothingness, Clearly the designer wanted a nether
world, either a bower or a sea bed, but the dancers, with their green
costumes, fade into the background; even their skin seems to take on a
greenish tinge. Despite the oppressive "Green Mansions" mood,
the second cast, Rachel Rutherford with Robert Tewelsey (in a welcome
return from injury), and Pascale van Kipnis with James Fayette, caught
the delicate lyricism of the music. Rutherford, in the Verdy role, danced
with a delicate shading and a gentle urgency; those horns were calling
her away to somewhere! The difficult mime-like movements, where the hands
say nothing exactly and everything allusively, were lovely. I never saw
Verdy dance the role, though, and people who did are always disappointed;
and yes, it is inexplicable that Verdy does not coach her part. Though
some of the partnering looked a bit tentative, Tewesley had a romantic
authority and plushness to his dancing that gleams with an old fashioned
courtesy,
so perfect for “Emeralds”.
read review
Pushing
It
Ellipse
Sydney Dance Company
Joyce Theater
New York, NY
February 19, 2004
by
Susan Reiter
copyright
© 2004 by Susan Reiter
published February 23, 2004
The
gentle swaying of a glowing oblong red lantern, as it rose slowly through
the darkness up to the flies, was the opening image of Graeme Murphy's
Ellipse. The introductory section, for two women who shared a
mysterious symbiotic connection, was a bravely reflective and somber one.
But as it progressed through its 80 minutes, Ellipse evolved
into a rough-and-tumble agglomeration of teasingly tasteless costumes,
excessive gymnastic exploits, and attempts at humor that veered too close
to silliness.
read review
|
What's
On This Week?
Balanchine
100th Birthday Events:
February
23
Balanchine's Men
The NYCB's 2004 seminar series continues with this look at Balanchine's
male dancers. Arthur Mitchell, Helgi Tomasson and Edward Villella take
part in this talk, moderated by one of Balanchine's most facinating
female dancers, Violette Verdy. At 6-7:30pm.
New York State Theater Lincoln Center 66th Street and Broadway 212-870-5570
www.nycballet.com
February
23
Early Experiences with George Balanchine
Barnard dance faculty Barbara Sandonato interviews her former teacher
Loren London (dancer in the original cast of Balanchine's Serenade)
and Barbara Weinsberger (Founder and former Artistic Director of the Pennsylvania
Ballet) about their early associations with Balanchine. Julius S. Held
Lecture Hall, 304 Barnard Hall Barnard College 116th Street and Broadway
February
24-28 (Opened in November)
New York City Ballet
The Winter portion of the company's Balanchine Centennial Celebrationcomes
to an end with the second week of Peter Martins' The Sleeping Beauty.
However, George Balanchine is represented in the ballet by his
wonderfully inventive rendition of the Garland Dance, which received
its premiere in 1981 during the Tschaikovsky Festival. The rest
of the ballet was done by Martins after Marius Petipa. Interest will
be high on Tuesday and Thursday, when Ashley Bouder takes on Aurora
for the first time. Alexandra Ansanelli also debuts this week in
the lead role on Wednesday. 2/24 at 8pm, 2/25 at 8pm, 2/26 at 8pm, 2/27
at 8pm, 2/28 at 2pm, 2/28 at 8pm, 2/29 at 3pm.
New York State Theater Lincoln Center 66th Street and Broadway 212-870-5570
www.nycballet.com
February
24-29 and April 27-June 27 (opened January 6)
The Balanchine Centennial Exhibition at New York City Ballet
George Balanchine's career is covered in a photography exhibit curated
by
company veteran Edward Bigelow.
New York State Theater Lincoln Center 66th Street and Broadway 212-870-5570
www.nycballet.com
February
24-March 7 (Opened December 6)
A Celebration of George Balanchine:
Selected Television Work
George Balanchine took full advantage of the advent of television, and
many of his greatest works - and performances of his dancers - have been
captured on video. In this 100th-year anniversary of the great choreographer's
birthday, The Museum of Television & Radio presents a series of showings
of some incredible footage. The eighth installment, shown from 2/24-29,
is called, Dance in America: Choreography by Balanchine, Pts. 3 &
4 Includes Chaconne (Farrell, Martins), Prodigal Son
(Baryshnikov, von Aroldingen), Ballo della Regina (Ashley, Weiss),
The Steadfast Tin Soldier (McBride, Baryshnikov), and
Tchaikovsky Trio (von Aroldingen, Lavery, McBride, Baryshnikov,
Farrell, Martins). (197879;
130 minutes)
Screening Times: Tuesdays to Sunday at 12:30 pm Evening Screenings:
Thursdays at 6pm The Museum of Television & Radio 25 West
52 Street 212-621-6800
February
24-April 24 (Opened December 10)
The Enduring Legacy of George Balanchine
A multi-media exhibit celebrating the 100th anniversary of the birth of
George Balanchine. It features photographs, designs, manuscript music
and correspondence, costumes, set pieces, and models, along with showings
of videotaped performances and rehearsals. The New York Public
Library for the Performing Arts Donald and Mary Oenslager Gallery
40 Lincoln Center Plaza 212-870-1630
Ballet
and Dance Events:
February
23
Movement Research at the Judson Church
This week's forum for experimentation and works-in-progress features Mariangela
Lopez's Wonders of Progress and Baggage Claim - a collaboration
by Ann Robideaux and Paula Plessas. At 8pm
55 Washington Square South at Thompson Street
212-539-2611
February
23
Works&Process
American Ballet Theatre dancers perform excerpts from the revival of the
comic ballet, Coppelia. The production is staged by ballet legend
Frederic
Franklin. At 8pm.
Guggenheim Museum
5th Avenue at 89th Street
212-423-3587
February
23
Moving Men
An evening of work by Alberto Denis, Pedro Jimenez, Pedro Osorio and Richard
Rivera
Dixon Place at University Settlement
184 Eldridge Street at Rivinghton Street
212-598-0551
February
23-24
Brink!
An evening of works-in-progress, curated by Kimberly Brandt, features
Clare
Byrne and Amy Larimer, Regina Nejman and Wendy Osserman Dance Company.
Dixon Place at Chashama
111 West 42nd Street between Sixth Avenue and Broadway 212-219-0736
February
24-29
Compañía María Pagés
One of the leading innovators
in modern flamenco, Spain's María Pagés infuses
her creations with modern dance technique, jazz and classical music.
The first part of the program is El Perro Andaluz, Burlerias, the
second part is Flamenco Republic. At 2/24-27 at 8pm, 2/28 at 2pm and
8pm, 2/29 at 2pm and 7:30pm.
The Joyce Theater 175 Eighth Ave. at 19th St. 212-242-0880 www.joyce.org
February
25, 26 and March 5, 6
Barcelona in 48 Hours
A collaboration between choreographer David Zambrano, photgrapher AnjaHitzenberger
and composer Edward Ratliff. At 7pm.
Dance Theater Workshop
219 West 19th Street between Seventh and Eighth avenues
February
26-29
Eva Dean Dance
Known for its vibrant and imaginative repertory, the Brooklyn-based
Eva Dean Dance perform its critically acclaimed work Bounce. In this unique,
theatrical, dry-land water ballet, dancers move on and with plentiful
colored balls creating a world of serene orbiting planets and
a wickedly fun
romp.
Joyce Soho
155 Mercer Street between Houston and Prince Streets
212-334-7479
February
27-March 7
If You Go Down to the Woods Today
Cas Public
Five dancers provoke and protect one another in six different stories,
from
the silly to the startling.
The New Victory Theater
209 West 42nd Street
646-223-3020
February
28
Israel Non-Stop
Presented by the JCC in Manhattan for the third year in a row,
Israel Non-Stop is a look at Israeli art and culture. This year's edition
features a double bill of music and dance. One of Israel’s brightest
young choreographers, Emanual Gat brings to New York a new dance
and music collaboration with the Arab-Israeli rap group MWR. At 8pm.
Symphony Space
2537 Broadway
212-864-5400
February
26-29
Goodbye to old things
Jennifer Allen premieres Goodbye to old things, a series of solos
for
superheroines. 2/26-28 at 8:30pm, 2/29 at 7:30pm.
St. Mark's Church in the Bowery
Second Avenue at 10th Street
212-674-8194
February
26-March 6 (Opened January 15)
Wow Moves Dance Fest
The festival closes with three weeks of Slain, a multidisciplinary dance
piece which explores female orgasm, hysteria, and being slain in the spirit.
Dora Arreola choreographs and Andrea Assaf and Arreola co-direct this
new work, conceived and created by Parker Pracjek. At 8 pm.
Wow Cafe Theater
59-61 East 4th Street between Bowery and Second Avenue
4th Floor
212-777-4280
February
28-29
Cinderella
New York Theatre Ballet presents one of their chamber-sized ballets for
children and families in a production choreographed by Donald Mahler.
Florence Gould Hall
55 East 59th Street
212-355-6160
—
Dale Brauner
|
Writers |
Mindy
Aloff
Dale Brauner
Mary Cargill
Nancy Dalva
Gia Kourlas
Gay Morris
Susan Reiter
Alexandra Tomalonis(Editor)
Meital Waibsnaider
Leigh Witchel
David Vaughan
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